Word: director
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Dates: during 1970-1979
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Unfortunately, the director never does get around to telling the story of either character's personal apocalypse. Instead, he uses part of Willard's river journey as a pretext to unveil a series of large-scale, self-contained set pieces-an impersonal tour of the war front. Though these sequences do not add up to a movie, they are feverishly imagined and brilliantly shot (by Bertolucci's favorite cinematographer, Vittorio Storaro). Indeed, the first of these war scenes may be the most spectacular battle ever created for a film. With a megalomaniacal officer (Robert Duvall) leading...
Perhaps if Coppola had succeeded in his efforts to recruit a star for the part, Willard might have commanded an audience's interest and empathy by sheer force of personal magnetism. Having no star, the director tried a more desperate solution: he commissioned Journalist Michael Herr (Dispatches) to write a narration that attempts to fill in Willard's personality ex post facto on the sound track. That narration-alternately sensitive, psychopathic, literary, gung-ho and antiwar-is self-contradictory and often at odds with Willard's behavior. It does not establish the protagonist as a credible figure...
...direction of Robert Kalfin and Lynne Gannaway smoothly accomplishes the transitional journey between one alien culture and another and knits both to gether in binding humanity. In his years as Chelsea's artistic director, Kalfin has been a dramatic risk taker of taste. Never has it been more rewarding to share that risk...
DIED. Frank Peavey Heffelfinger, 81, former chairman of Peavey Co., a century-old Minneapolis grain firm; in Minneapolis. He spent his career in the family business but took time out to serve as regional director of the War Production Board under Franklin Roosevelt and as finance chairman of Dwight Eisenhower's Republican National Committee...
Conducted by Psychiatrist Jon K. Meyer, director of the hospital's sexual consultation program, the study grew out of a concern that many transsexuals seeking surgery ranged in age from 20 to 30 (men outnumbering women 4 to 1). Somehow those over 30 seemed to have lost the desire for it, settling instead for alternate lifestyles. So, in 1971, Meyer began keeping track of his patients' postoperative acceptance of their new gender, using such indicators as job placement, marital success, psychiatric status and police records. Concludes Meyer: the surgery "serves as a palliative measure ... [but] it does...